The Ratings Are In and...

This semester, we watched 12 very different films. Ranging from Film Noir to Westerns to Foreign films, we were exposed to a wide array of cinema. As a whole, I enjoyed each movie we watched. Each was unique in its own way and I was able to enhance my understanding of film through each.  A few of the films I had seen before, but I enjoyed them just the same and since we discussed the movie at length, I was able to come away knowing more about it and appreciating it even more. I enjoyed this class very much, and I feel more confident now when I call myself a cinephile. With this in mind, here are my ratings for the 12 films:

      1. The Vanishing (Spoorloos) – Thought provoking and had a highly realistic feel. This film had a powerful ending that left an indelible lasting impression.

      2. The Good, the Bad, and the Ugly – Quintessential Clint Eastwood western. An enduring film with many iconic scenes.

3. Detour – Intriguing plot kept me hanging on until the end. Great cinematography. 

        4. Sherlock Jr. – Humorous and largely entertaining. I always enjoy a good Buster Keaton flick.

5. O Brother Where Art Thou? – Great satire with memorable soundtrack. Casting and acting were excellent.

6. End of Watch – Great use of creative cinematic style. Provided a more realistic image of life as a cop.

7. Awaara – Great story, despite the lack of originality. Singing and dancing seemed out of place, but still a great example of a successful foreign film.

8. My Own Private Idaho –This movie felt like a real adventure. Great use of symbolism. The psychedelic nature made this film stand out.

           
9. Killer of Sheep –Bordered the line of boring. Did not help that it was in B&W. Cinematography was good.

                      

 10. Moonrise Kingdom – Good plot and excellent use of stylization. I felt overwhelmed by the heavy stylization.

11. Wendy and Lucy – Good acting, it seemed real, but there wasn’t much of a story. I also think it was too discouraging.

12. Freaks – Disappointing story, unusual cast of characters, and it made me feel uncomfortable.

End of Watch

End of Watch was chalked full of interesting shots and camera angles. These included very high angles, very low angles, close ups, distance shots, and just about anything in between. This is due to the fact it was filmed in a documentary style, employing handheld camera, dashboard camera, and even clip-on cameras attached to the uniforms of the two main characters, Officer Brian Taylor (Jake Gyllenhaal) and Officer Mike Zavala (Michael Pena). The scene I have chosen to analyze comes towards the end of the film. It is the beginning of what will turn out to be the final call of duty for the duo of Taylor and Zavala. They are on a normal late night patrol when a van, driven by the Mexican drug cartel that has been pursuing the officers throughout the film, cuts across traffic and leads the officers to a seemingly abandoned building. The officers race in the building after the occupants of the van, only to discover it is an ambush. The scene involves a variety of different camera angles, most of which had been used previously in the film. The combination of camera angles makes the scene even more dramatic.

In this first frame, the view point is the dashboard camera of the patrol car. It shows the van just as it is about to run the red light and begin the car chase. The date and time stamp at the top of the screen add realism to the effect of the shot. This is just one of many unique and intriguing camera styles employed throughout the film that add to the authenticity of the documentary style.

This shot was a little confusing from a stylistic perspective. It is not clear where the camera is. It seems entirely possible the view point is the camera clipped to Zavara’s uniform, which would mean he is not necessarily keeping his eyes on the road. In order for this shot to work, he would need to be angled toward Taylor, which would take away from his ability to see the road ahead. If the shot is filmed from a different camera, the source of that camera is not clear, and the documentary style of the film loses credibility.

This frame is interesting because it is shot from Taylor’s point of view using the camera clipped to his uniform. He has just left the patrol car and is running after the driver of the van. He chases him up the stairs and into the building. Since the camera is attached to his uniform, the viewer sees things from about shoulder height, which makes for a neat effect when he is leaning in as he is running.

At this point in the scene, Taylor and Zavara are on their way down the hallway toward this main room. This particular frame is from the perspective of the Mexican drug cartel members who are waiting for the officers to come around the corner. From previous scenes in the film, it is known that the cartel is using a handheld camera to record from their POV. Why a dangerous drug cartel would be filming their incriminating exploits is beyond me, but that is just part of the film. One thing that does not add up however in this scene is the fact whoever is filming is holding a gun in the other hand. This might make one wonder why the image is not shaky. With one hand, the camera can only remain so steady, the frame should be blurry or shaky, but instead it is crystal clear, as if the camera is on a stand.

This frame is a mystery to me. It is not obvious who is filming this shot. It is not the drug cartel because they are still in the larger room, shooting at the officers. It is also not the officers’ uniform cameras or Taylor’s handheld camera. What does that leave? Is it possible the authenticity of the documentary style is in question here? It would seem like it.

In this final frame of the sequence, the camera perspective switches to a handheld camera carried by a member of the cartel. They are chasing after the officers and the camera is being held low to the ground. Also, this shot is sideways, lending authenticity to the handheld camera perspective. The lighting is good in this scene, it shows the shadow of the person and it is possible to almost make out the shadow of the camera in their hand. This particular frame is reminiscent of something you might expect to find in a Hitchcock film or a film noir.

Moonrise Kingdom and Benjamin Britten

Benjamin Britten was a noted 20^th century English composer and conductor. His work includes everything from operas to orchestral and chamber pieces. Britten's music is notable for its attention toward children, which is something it has in common with the cinema of Wes Anderson. Anderson's films often put their emphasis on the plight of the young characters, as is the case in Moonrise Kingdom. This shared focus on children is likely a strong motivation for Anderson's heavy inclusion of Britten into Kingdom's score.

One of Britten's more notable works, The Young Person's Guide to the Orchestra, was originally composed with the intention of educating children in classical music. To this day, it remains among one of the most popular pieces included in youth music education.

Likely for this reason, it was featured early on in the soundtrack to Moonrise Kingdom. Another reason it could be featured in the film might have something to do with the structure of the piece. The work introduces each section of an orchestra and then combines them together at the end. Much in the same way is the structure of the movie. In the beginning, each character is introduced separately, and by the end of the film, each of those parts come together and interact together to fulfill the story's plot.

Among other compositions included in the soundtrack are selections from Britten's opera Noye's Fludde (which tells the story of Noah's Ark). At one point during the movie, in a flashback scene, Sam and Suzy are shown participating in an opera at a church. This is where they first meet. The opera they are performing is Noye's Fludde. Britten wrote the opera with young, amateur performers in mind, so it makes for an appropriate choice for this movie. In a way, there is almost a parallel between the story of Noah's Ark and Moonrise Kingdom. In the movie, Sam and Suzy, like Noah, are attempting to escape from a flood. Except for them, it is more of a figurative flood than an actual one. There is a flood of animosity about their running away together, liberating themselves from the hostilities they feel they live with. (Suzy is disdainful of her parent's treatment toward her and Sam is bored and tired of the scouts.) In this way, Captain Sharp and Scout Master Ward, among the other adults, become the water of the figurative flood that is chasing Sam and Suzy.

Another interesting connection to note is between Moonrise Kingdom and that of Britten's opera Peter Grimes. While no piece of music from Peter Grimes is featured in Anderson's film, there are other striking similarities. For instance, both stories take place in fictional coastal towns (Grimes in England and Kingdom in New England). Both examine the struggle of individuals against the masses and both stories feature a powerful storm. In Moonrise Kingdom though, the storm plays a more central role.

Also included on the Moonrise Kingdom soundtrack are various selections of Britten's works ranging from some of his orchestral pieces to selections from his version of "A Midsummer's Night Dream".